Persepolis

            I liked the artistic choices the author made when illustrating the main character’s imagination.  On page six I enjoyed the simple illustration of Marji caught between two worlds, the modern world of her parents and the religious feelings she felt conflicted with this.  On page 45 I liked that we see the main character imagining her ears nailed to the wall, it was funny and effective to see her fears literally drawn out. 

            Because it’s in black and white, I tried to pay attention to when there was more of either color in a cell.  When there’s more black, and shadow, the situation is more serious.  On page 38, when Marji and Mehri go protesting, the cell has a solid black background.  On page 49, when people are demanding the Shah’s departure, the angry people, as well as the disgraced Shah, have shadows over half their faces.  Shadow and darkness help usher in heavier emotions.      

            I liked how the author split their narration and comments on what is happening in a particular moment between different banner placements.  Narration stayed in the upper text banners, while asides or personal thoughts on what’s happening took place in the lower text banners.  I think this was a clear and easy way to divide the different information.  I liked that there were comments from the narrator that weren’t thought bubbles or dialogue.  I think it’s crucial to hear the narrator’s opinion from time to time, especially when looking back, so I was glad that the author found a distinct way to add this.      

            On page 39, after Marji and Mehri have come back from the protest, the mother’s slap stays on their faces long afterwards.  I thought this was a great way to show the character’s shock and how they keep stewing on this event.  Even without the hand mark, I would know that they are sitting, speechlessly thinking about this, but the hand makes it impossible to ignore.  It also made me think of how they could probably still feel it, even a long time after, and it probably felt like other people could see what happened just by looking at them.  Their surprised shame at being slapped was driven home with the idea of the lasting mark, as they probably felt like they had just been slapped for a long time afterwards. 

            On page 50, everyone in the house is in one frame, centered, and too close to one another.  This showed their discomfort, and investment in what they’re being told.  I liked how there is empty space on their side, showing their crowded sitting is of their own doing.  It shows how troubled they are mentally at this moment, and how they’ve reproduced that physically, or are seeking comfort from each other unconsciously. 

             On page 152, I felt that the cell that had the most impact about Marji’s separation from her parents is the one where there are no words.  It extends the last moments they have together, and emphasizes what can’t be said.  This chapter ends with powerful words and images, but the scene of them together and silent was very memorable to me.  I liked how the author trusted that this scene would accomplish what was needed and didn’t try to over burden the cell, they let it breath.  Throughout the whole comic I found that the author married text and images in clever ways, letting each do their work without getting in the way of the other.  They trusted their words as much as they trusted the images to make the right impression.    

-Iris